Kottukkaali

Kottukkaali (2024): A Poignant Look at Patriarchy with a Powerful Performance from Soori

"Kottukkaali" is a Tamil film that tackles complex themes of patriarchy and gender inequality within the framework of a simple family drama. While the storyline may not be filled with twists and turns, the film's impact resonates deeply due to its nuanced storytelling and a powerful performance from Soori.

Soori delivers a career-defining performance as Paandi, a man deeply entrenched in patriarchal beliefs. His portrayal is both nuanced and captivating, showcasing the internal conflicts of a character grappling with societal pressures and his own rigid mindset.

The film's cinematography is beautiful, capturing the rural landscapes of Tamil Nadu with stunning visuals. The pacing is deliberate, allowing for a gradual unfolding of the characters' emotional journeys and the underlying tensions within the family.

While "Kottukkaali" may not offer easy answers or a conventional resolution, it leaves a lasting impact with its unflinching portrayal of social realities and its celebration of the human spirit's resilience in the face of adversity. This is a film that will stay with you long after the credits roll, prompting reflection and sparking conversations about the deep-rooted issues it addresses.

However, the film's deliberate pace and lack of dramatic twists may not appeal to all viewers. Some may find the narrative slow and lacking in excitement. While the film's message is powerful, its impact may be diluted for those seeking a more conventional cinematic experience.

This movie really caught me off guard! The plot is pretty simple: it's a road trip film that kicks off with two families heading to see a fortune teller in another region to lift the spell of forbidden love affecting one of the girls, who's not interested in marrying her cousin. But in just 90 minutes, we don't just get to know the family members and their dynamics-we also uncover layers of meaning, symbolism, and cultural depth, which is a huge achievement. The ensemble cast is fantastic, especially Anna Ben, who barely speaks throughout the movie-something that carries its own significance. The cinematography isn't flashy, but it works perfectly for this film. The production design and landscapes are stunning. There's something really unique about this movie compared to other road trip films. Halfway through this seemingly simple trip, the stakes keep getting higher with every moment. And the ending? It's just mind-blowingly fascinating!

The themes are familiar-similar to what we saw in All We Imagine As Light in 2024-but it's the execution that makes this film stand out. There's a rawness and precision in the storytelling that sticks with you. At the beginning of the movie, we see a girl with a rooster tied by its leg to a heavy stone. This rooster represents Meena's lover but also parallels her own situation, suggesting she's being treated as an object to be controlled or fixed rather than as an individual with her own desires. The symbolism is clear from the start, but how the filmmaker uses it throughout makes it even more captivating. By the end, that rooster isn't just a symbol; it becomes almost like a character in its own right. I won't go on about the usual themes like caste and social hierarchy, patriarchy and gender roles, tradition, superstition, personal freedom, and the many forms of female oppression by society, family, class, gender, and religion-those are all there-but the magic lies in how they're executed.

Although the movie is primarily a drama, there's comedy mixed in, along with some horror elements. The comedy feels like it comes straight from the culture itself, reflecting how the characters speak and behave. As I mentioned earlier, something scary happens midway through, and from then on, the stakes keep rising, making me feel really uncomfortable-but it's necessary for the ending. At first glance, the ending seems surprising, but it didn't take me long to figure it out for myself. It feels open-ended, but I'd argue it's not really. I won't say more about it-just watch the movie! It's great on so many levels. The acting is phenomenal; it feels almost like a documentary for most of it. There's no music at all, which isn't needed here. Not a single extra scene drags on; it never gets boring for a second! This should have been the real awards contender instead of All We Imagine As Light, which I didn't care for at all. This movie deserves way more attention-don't miss it!

True story telling of a very existing social issue in southern and in many parts of India.

Another gutsy attempt by the director.

Lots of symbolism.

Girl trying to change her mind and the guy did too.

Fored marriages are still common and the entitlement and control shown by men is very existent.

This movie shows this sensitive topic in a simple way with great sense of reality and southern based realistic satirical humor.

All the actors - at times hard to tell they are acting rather in a real trip to get the girl sanitized of her demon- Love.

Thank you Team.

Tamil movies are touching great heights.

This movie is one example.

Kottukkaali

A hot debatable topic that is still practiced in this 21st century is put to screen by P S Vinothraj.

The movie throws light on the ancient superstitious customs and traditions that are still being followed in remote rural households of Tamil Nadu.

P S Vinothraj has portrayed his ideas in a realistic way through the characters in the movie.

The idea he visualized through the screenplay is perfectly curated on screen through subtle and realistic moments in the movie. Bold performance by Soori and Anna Ben in the movie.

This movie is a definite green signal for niche audience who loves festival films and movies on ancient culture. The movie may be a point of discussion among critics but not among mass audience.

The director concludes the movie with a small request to the audience to be the harbinger of change.

Rating - 3.25/5.

If you've read my review of PS Vinoth Raj's debut feature, Koozhangal (Pebbles), you know how highly I respect his work. I was eagerly anticipating his sophomore film, drawn in by the poster and looking forward to it. I must also thank the Kurosawa die-hard (lol) Mysskin for his ammo like promotions. And most importantly, thanks to Siva Kartikeyan for backing this as a producer; it's a daring experiment, and I hope we see many more masterpieces from his production house.

The trailer offered a glimpse into the film's thematic depth, with Anna Ben's character, Meena, gazing at a tethered rooster. This visual metaphor clearly conveyed Meena's emotional and social entrapment, mirroring the rooster's physical confinement. In the intro, we see a glimpse of her face, a bindi on her forehead, and she looks helpless, like a dead corpse. People in the house claim she is possessed by a spirit after wandering alone somewhere.

Soori, who has a great stint departing from his comedic roles, delivered a powerful performance. His character's misogynistic internal turmoil was subtly but effectively conveyed. He rages when Meena hums lines from a popular Tamil romantic song. It seems Meena is not the one who is possessed, but rather the other way around.

I was captivated by the young boy in the auto who was compassionately feeding rice to a rooster. He seemed the only rational adult in the film, and his warm smile towards Meena after the road rage incident was heartwarming. The film also introduced a young girl who appeared to be a younger version of Meena. A particularly striking scene involved a close-up of Pandi's eye, with dirt caught in it. His sister's ingenious use of her tongue which is shown in a close up to remove it was a brilliantly staged moment. Even the young girl with the bull, who for me personally symbolized Meena and freedom, was striking. In fact, there's a shot of Meena in an open field with her hair flowing freely that speaks volumes and totally contrasting to her present state. The auto rickshaw itself is filled with religious imagery, adding to the overarching theme of the film.

Anna Ben's portrayal of Meena was a masterclass in silent suffering, her eyes conveying a depth of emotional torment with few striking surreal shots. The film's cinematography was visually poetic, capturing the stark beauty of the rural landscape while highlighting the character's isolation and despair. The absence of a traditional soundtrack enhanced the film's contemplative atmosphere, allowing the audience to fully immerse themselves in the characters' experiences.

One of the film's best scenes is the ritual performed by the shaman in the temple. This sequence is both humorous and unsettling, highlighting the absurdity of superstition and the fear it can instill. Additionally, the film's use of symbolism is particularly effective. The rooster, for instance, represents Meena's entrapment, while the temple bells evoke a sense of mysticism and emotional turmoil. These symbolic elements enrich the narrative and contribute to the film's overall thematic depth.

Overall, Kottukalli is a powerful and essential voice in contemporary cinema, offering a profound exploration of themes without resorting to watered-down portrayals or excessive feminist rhetoric. The open-ended climax leaves the audience to decide Meena's fate and the journey, making it a truly unforgettable and moving experience for the patient viewer.